THERE’S a whole lot of shaking going on at the International Silent Film Festival, now on its 10th year at the Shangri-La Plaza’s Shang Cineplex (Aug. 25 to 28).
As in previous editions, the annual event, the only one of its kind in Southeast Asia, will gather Filipino musicians, who cover an array of styles and genres, to score silent films from nine countries.
Representatives of the participating countries agree that this unique event not only promotes their respective nations’ cultures, it also disseminates the importance of film preservation, especially among the youth.
“Imagine, a 10-year-old kid getting excited about a 100-year-old film,” quipped Lisbeth Strohmeier of the Cultural Affairs office of the Austrian Embassy of Manila. Austria is presenting Max Neufeld’s “Der Balletterzherzog” (Aug. 28, 5:30 p.m.).
Wolfgang vocalist Basti Artadi will provide the music to the 1927 romantic operetta. “Since the film’s visuals feature old Austria, particularly the Vienna Opera House, people may expect classical music. For a change, we opted for rock ’n’ roll. Basti will definitely surprise us,” said Strohmeier.
France is also targeting a youthful crowd with a pair of animated shorts: Albert Capellani’s “Leg of Lamb” (1907) and Marius O’Galop’s “Le Petit Poucet” (1922). “We want to show that France also pioneered in animation—not just in filmmaking,” said Martin Macalintal, audio-visual attaché of the French Embassy.
Respected film scorer Jun Latonio, known for his work in Mike de Leon’s “Kung Mangarap Ka’t Magising,” will accompany the French shorts on the piano during the concert-screening (Aug. 28, 3 p.m.).
Alessandro Milani, general manager of the Philippine-Italian Association, explained that Italy’s entry, Guido Brignone’s “Maciste in Hell,” combines pop culture and high literature. “Maciste, which was created by poet Gabriele D’Annunzio, is an iconic character in Italian cinema—our version of Superman.”
Organizers turned to rock star Ely Buendia to score the Italian film (Aug. 26, 8 p.m.). “Contemporary music gives life to so-called vintage films… making the old seem new again,” said Milani.
Timelessness is a recurring theme in the fest, as exemplified by the British entry, the opening presentation, “Play On! Silent Shakespeare,” a collection of films produced between 1899 and 1913 (Aug. 25, 7:30 p.m.).
Aileen Matic, events delivery officer of the British Council, explained that the United Kingdom is commemorating the 400th death anniversary of William Shakespeare with a global campaign to popularize the Bard’s enduring legacy.
The Tago Jazz Collective will score the British entry, which showcases scenes from such classics as “King John” (1899), “A Midsummer Night’s Dream” (1909), “Merchant of Venice” (1910) and “Hamlet” (1913). “We wanted music that is edgy and modern to provide contrast,” Matic told the Inquirer.
On the opposite end of the spectrum is the classical piece that will accompany Spain’s entry, Florian Rey’s “La Revoltosa,” a popular zarzuela (Aug. 27, 3 p.m.).
“We are aware that the zarzuela is close to Filipinos’ hearts,” said Carlos Madrid, director of the Instituto Cervantes. “Zarzuela connects our two countries.”
For the screening, the Instituto will bring in tenor Miguel Angel Lobato from Spain, who will perform, with Filipino soprano Janine Santos, the 1924 film’s original music, as arranged by Filipino musician Dingdong Fiel.
Japan, one of the fest’s original proponents, along with Spain and Germany, is presenting Minoru Murata’s “The Foghorn.” The 1934 romance drama shows Japan during a pivotal time in its history, when it opened its doors to foreign visitors, remarked Tetsuya Koide, assistant director of the Japan Foundation.
For the screening (Aug. 27, 5:30 p.m.), the Foundation made a sentimental decision in tapping the Makiling Ensemble, which was also Japan’s performer in the first Silent film fest a decade ago. “We feel that traditional Filipino music is a perfect fit for the film’s theme,” Koide pointed out.
The United States, which churned out numerous silent movies in the early days of cinema, is offering Sam Taylor’s “For Heaven’s Sake,” a blockbuster hit when it was first released in 1926 (Aug. 27, 8 p.m.).
Adam Klecheski of the US Embassy related that the Harold Lloyd comedy is the 12th highest-grossing film of its era, earning $2.6 million. The 10-piece big band Brass Pas Pas Pas Pas’ uncommon blend of jazz, swing, blues, soul, disco and funk “will lend an interesting flavor to the film.”
Since most Filipino films produced before the sound era was destroyed, the Philippines is fielding the only recent title in the lineup, Raya Martin’s 2005 film, “Indio Nacional” (Aug. 26, 5:30 p.m.).
Martin handpicked indie rock group Oh, Flamingo! to score his film, said Ina Avellana Cosio of the Film Development Council of the Philippines. “The group is familiar with Raya and knows how to play around with the movie’s score.”
Germany holds the distinction of closing the fest with Friedrich Wilhelm Murnau’s “The Last Laugh” (Aug. 28, 8 p.m.). The 1924 drama is noteworthy because of the director’s attempts to experiment with camera movements, said Shadin Kitma, program coordinator of the Goethe Institut.
In keeping with the film’s “experimental” nature, the Institut invited Up Dharma Down to join the fest. Kitma said, “This band is flexible and dynamic. Its music embraces different genres.”
Just like the Silent film fest itself.